Author Jari Ehrnrooth has written a hostile and offensive text: “Pahuuden kieltäminen ei auta” (Denying evil doesn’t help) and got it published through YLE, our national broadcasting company. The text is using the Turku attacks to target muslims and other religious groups. He claims that the attack in Turku was executed using “Isis-style knife handling” and that “islam is still an authoritarian and expansive world religion, which strictest forms include appalling amounts of mental submission, physical violence and murder”. He continues to speculate about a “righteous terrorist-mother, kissing her little-jihadist, who is send to the daycare center on a be-a-hero-for-a-day event wearing a fake-bomb-vest around his chest – As is happening in Gaza”.

I send a complaint to YLE which is responsible for publishing the text. Ehrnrooth holds the title of adjunct professor in the universities of Turku and Helsinki (he signed his text highlighting the title). I wrote to Thomas Wilhelmsson the chancellor of Hki Uni. and Professor of Cultural History Marjo Kaartinen in Turku, asking them to distance their universities and departments from Ehrnrooth. I got a sympathetic reply but I was explained that adjunct professor is a only a title and that the person is not employed by the university. The message also underlined the autonomy and right to freedom of speech of their researches. This was a weak argument. There is no “free speech” in relations others are targeted based on their religion. #ॐ

Send my Dude mixer back to Brno. Included a short letter explaining the problem and a postscriptum: “Ps. My favourite Czech performance artist is Jiří Kovanda. I’ve worked for an old Finnish lady Outi Heiskanen who had performed with a Czech group called Crusaders’ School of Pure Humour Without Joke in the 70ties. I own a hobby-anvil made from a tram-rail (made in and bought from Prague) and an axe manufactured in “Czechoslovakia”. I’ve visited Brno once, only passed through. Here is a video of me making macho-coffee in Prague 2009.”


“Does ‘art audience’ today really only mean people who have an (economic) interest in the art world?” asks Elvia Wilk on Spike magazine. I concur with her thinking but have to argue that she didn’t dig deep enough. Reaching vanilla-art-audiences is common for projects which reject institutional protection and work against status quo (Unfortunately result from such encounters are seldom fruitful). The text makes an interesting observation on how artist deploy non-artist friends as resources:  “[…] if you hang out around art people long enough eventually you develop a taste for semi-mutually-exploitative collaboration.”. These processes are evident in the practice of artists like Outi Heiskanen and particularly her involvement with the Record Singers group and the “Bellinin akatemia”. Both group were dependent on non-artist collaborators.

Pietari shared a neat text: “Debt, neoliberalism and crisis: interview with Maurizio Lazzarato on the indebted condition” by Magnus Paulsen Hansen and Mathieu Charbonneau. In the article Maurizio Lazzarato discusses how the 2007–2008 crisis has influenced creditors and how tax-havens force debt to the working class:

“The power of debt in neoliberalism represents a highly efficient mechanism of control and capture, more efficient than the modes of resistance put in place by the workers’ movement. While the latter still focuses on dynamics located within the productive space, power is now exerted on a broader social scale. Hence, there is an asymmetry between capital and the forms of resistance.” “In reality, there is no crisis from the point of view of creditors as they are currently operating a second great appropriation by virtue of capturing the welfare state’s social wealth. […] the principle of redistribution has been preserved, but the direction of redistribution has been inverted.”


I became a sole trader in 2011 when I was working regularly for Outi Heiskanen. She didn’t want to be defined as “an employer” in her tax reports (which is very costly in Finland) and at the time becoming an entrepreneur felt like fun idea… I was active in building exhibitions for various parties and involved in serious art transportation ventures. We even talked about buying a van with a friend. Becoming an entrepreneur was a serious joke. The status has enabled me to discuss economics more convincingly. As an entrepreneur I’m a subject in economics and my critique of capitalism is more founded and more personal. Becoming an entrepreneur was an accelerationist effort, which culminated my involvement with Ore.e Refineries.

Sending bills is still fun but every year I regret not setting up a co-operative instead. Today my grief is related to sole trader taxation regulations when billing cities and municipalities.

As a sole trader I’m responsible for organizing my own pension. If earn more than 8000€ a year as an entrepreneur, I’m legally obligated to join a pension trust and to pay around 100€ a month in pension insurance premiums. The minimum “YEL-insurance” I’d have to pay a year is 1200€, which is too much for me (and many other sole traders working in the culture sector). This is why I don’t send more than 8000€ worth of bills a year. There are various very simple and legal tricks to do this. During the fall I negotiate that I can send my bill the next year and for bigger gigs I setup an temporary employer statuses with the organizations that hire me. For the past four years I’ve only send out bills for small 200-400€ odd jobs.

As a result I haven’t payed any pension fees. This is not because I wouldn’t want to… It’s just too expensive and as a part of my income comes from artist grants I dream that I’ll personally get an artist pension for myself (If I manage to survive as an artist for the next 33 years).

The government needs new forms of income, so that it can afford for the baby boom generation’s pensions. There are various aggressive schemes at work which skim funds for pensions from every possible monetary transaction. Legislation for small scale business is quite unfair. “By law, entrepreneurs under the age of 53 are required to pay 23.7 percent of their earnings in pension insurance, while salaried workers contribute just over five percent.” YLE explains in a 2015 article.

I wrote about the Record Singers group for an Artsi-museum related book. The writing fee was decent but as the museum is run by the municipality there is a cunning scheme in legislation, which the government will use to deduct a “pension” from my writer’s fee (More on the scheme in Finnish). This is saddening. I made the text almost for free. I don’t regret making it. I did a good job.

I’m not bitter about anything but I think that the baby boomers generation should have spend their salaries more smartly. Additional funds for pensions should be harvested by disallowing (and re-distributing) pensions that are over 2 300€/month (Statistics on pensions in Finland found here). I hate the feeling that a petitioner makes more money than I do and that young forced-entrepreneurs are paying for their second cars, their trips to Thailand and the renovation of their summer houses (which remain empty most of the year and none from my generation will be able to visit as we can’t afford the gas money).

Hevoslinja: Hevonen on hyvä lehtori

Artikkeli on julkaistu taideyliopiston IssueX lehdessä 4/2015, s.34. Juttu on ladattavissa .pdf tiedostona.


Hevonen ja esiintyminen -kurssilla Taideyliopisto teatterikorkeakoulussa hevonen toimi esiintymisen opettajana. Eläimet voivat ottaa vastuun taiteellisen tiedon tuottamisesta, kun niille annetaan mahdollisuus. Taideyliopistolle aloite toislajisesta taidepedagogiikasta olisi uraauurtavaa brändityötä. Kurssin apuopettajien Pietari Kylmälän ja Eero Yli-Vakkurin mielestä uusien lajikumppanuuksien hakeminen on taiteen elinehto.

Taiteen akateemikko Outi Heiskanen nimesi suomenhevosruuna Toivotun Pojan dosentiksi toukokuussa 2014. Hevonen sai opetusoikeuden Bellinin akatemiaan, joka on 1970-luvulla aktiivisesti toiminut taiteellinen opintopiiri. Hevosen akateeminen ura alkoi. Seuraavana syksynä se laajensi pestinsä TEAKiin Hevonen ja esiintyminen -kurssin opettajaksi. Opetukseen osallistui kymmenkunta taiteilijaa. Hevonen on nerokas opettaja.

Taideyliopiston kannattaa headhuntata hevonen lehtoriksi! Joukkojenhallintatehtävissä kahdeksan ratsupoliisia vastaa sataa maasta toimivaa, ja taideyliopistojen kilpailutilanteessa yksi hevonen vastaa kymmentä lehtoria! Tuloksena voisi olla maailman mittakaavassa ainutlaatuisen toislajissensitiivisen pedagogiikan kehittyminen. Hevonen on kannattava kumppani taiteelliselle työlle, sillä se on koodattu kulttuurimme visuaalisiin järjestyksiin. Ratsastavat arvohenkilöt ovat tuttu teema veistoksissa ja sota-aiheisissa maalauksissa. Ei-inhimillisten kumppanuuksien luominen on ekokatastrofiin varautuvassa maailmassa taiteen tekemisen edellytys. Hevosen rinnalla oleminen luo ihmisen ja ympäristön keskinäisiä riippuvuuksia.

Kurssin toiminta lomittui Etelä-Espoon ratsastuskoulun talliarkeen. Sen aikana ei pyritty kouluttamaan lisää ratsastustaitoisia esiintyjiä taidespektaakkeleihin. Ryhmä joutui neuvottelemaan taiteellisista prosesseista hevosten sekä muiden tallilla olleiden henkilöiden kanssa. Vaihtokaupassa talli muuttui esitystilaksi. Paikan kriittinen luenta mm. paljasti hevostytöt aktiivisiksi liminaalihahmoiksi, jotka asettuvat luonnon ja kulttuuristen toimien väliin. Taiteelliselle toiminnalle vierasta ympäristöä tulkittiin hetkellisesti teoksena.

Hevoslehtori haastaa seiniensä suojiin käpertyvät taidelaitokset. Sen opetusta ei ole järkevää rajata harjoitus- tai luentosaleihin. Luokan on seurattava eläintä, jolloin ympäristön muutokset, sää ja muut eliölajit vaikuttavat oppimiskokemukseen. Tätä kautta oppii valpasta ympäristösuhdetta. Hevosta ei tunnu haittaavan toimiminen lähiön kupeessa tai tehtaiden piippujen varjossa. Hevosen muuttuva  suhde elinympäristöönsä perustuu verkostojen rakentamiseen muiden lajien kanssa. Se ei pyri omavaraisuuteen vaan tarvitsee lauman. Se on vertaisvarainen ja kutsuu yleisöä kumppanikseen.

Vaaratilanteiden välttämiseksi opettajan ja oppilaan välisen kunnioituksen on oltava molemminpuolista. Kunnioitus ei tarkoita samastumista, vaan lajien erityislaatuisuudet on tunnistettava ja niistä on muistutettava itseään jatkuvasti. Huomion lipsumisen tuntee nahoissaan, kun hevonen astuu varpaille. Kivun uhka voi johtaa pelkotiloihin, jotka purkautuvat helposti kontrollia tavoittelevana fyysisenä vallankäyttönä. Jotta hevoslehtoraatti saisi loivan lähdön, se kannattaa perustaa tanssitaiteen laitoksen yhteyteen, jotta oppilaat voivat väistää eläintä sulavasti.

Hevoslinja: Dosenttuuri

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Suomenhevosruunalle Toivottu Poika on myönnetty dosentuuri Bellinin akatemiaan ja arvon mukainen opetusoikeus vastaaviin oppilaitoksiin. Arvon myönsi 27.5 taiteen akateemikko Outi Heiskanen. Pienimuotoinen tilaisuus järjestettiin Etelä-Espoon ratsastuskouluilla ja sitä todistivat Jesse Sipola ja Pietari Kylmälä. Nimitystä juhlistettiin porkkanoilla.

Muodollista vastaanottoa ei järjestetä; onnittelijat voivat tulla tervehtimään tuoretta virka-aikojen puitteissa Espoossa. Toivottu Poika ei ole ensimmäinen akateemisen arvon omaava eläin – Mutta tiettävästi ensimmäinen hevonen. Lisätietoja aiheesta englanniksi (wikipedia).

The finnhorse The Awaited Son has been appointed as an adjunct professor to Bellini’s Academy and granted a teaching license to corresponding institutions. The title was appointed 27. May by Academician of Fine-Art Outi Heiskanen. A small ceremony in the Eerk-stables and was witnessed by Jesse Sipola and Pietari Kylmälä. The appointment was commemorated with carrots.

Instead of a formal celebration, guest are welcome to greet the new Adjunct Professor in Espoo during office hours by appointment. The Awaited Son is not the first animal to receive an academic diploma – But most likely the first horse! More on the subject in wikipedia.

Kuva isompana.

Kuva isompana.